Andrea fraser whitney biennial 2012 essay

Collection of the artist. In a new book by Yale University Pressthe Biennial is examined from a number of angles by experts in the field. The populism that took hold of museums in the 70s was driven largely by the demands of public funders and foundations, together with the pressures of community activists.

Oil on canvas, 24 x 30 inches. People leave truly touched or snarkily laughing along with Herzog. But I also feel that I have a responsibility to continue to engage the art world, at least as long as my work circulates within it and as long as I continue to teach.

It just as often takes the form of aestheticism and idealism, as well as commitment born of a deep belief in the progressive potential of those artistic traditions. A boycott has been called against the Whitney. How can artists today-or really, anyone-make their labors compensable without contributing to the plutocracy that is the American status quo?

In some sense, the gap between what we do and what we say about what we do in the art world today may correspond simply to the gap between these traditions and the contemporary conditions of the art world as a global multi- billion dollar industry of luxury goods, investment vehicles and large-scale public spectacle.

There are many things that I do refuse to participate in. Image courtesy of the artist, Gallery New York and Galerie Neu Berlin Another circumstance makes this Biennial unique, as two neighboring exhibitions in New York designed to directly compete with it are concurrently on view: How does one go to the ATM without thinking about the global bank default?

In an e-mail interview, Fraser responded to our questions with grace and candor. She makes us emotionally invest in her characters and take her paintings seriously, primarily by how convincingly they are painted, with all the bravado of thick, sexy oil paint and the subtle colors of a Bonnard.

Most of the fourth floor has been dedicated to blinding white theater seating and a massive stage. Artists have always been involved in framing what we do by way of statements, interviews, lectures, and now also websites and blogs. In the 90s, we saw the rise of contemporary art spectacle, in large-scale multi-media installations, mega-exhibitions and festivals.

So while much has been gained with audience expansion over the past decades, both in terms of the size of art audiences and the range of their motivations and experiences with art, I also have to wonder about what has been lost.

Digital photograph, dimensions variable. I think the gap between what we do in the art world and what we say about what we do has deep roots in the development of the institution of art as a whole, which includes organizations like museums and art magazines, academic fields like art history and cultural theory, and a wide range of individual participants -- including artists, of course.

What were the "golden years" of art making, if this era ever existed?

That is an honor and an opportunity, but it is also an occasion for conflict.Whitney Biennialinstallation view, foreground: Kai Althoff, Untitled, The Whitney was also, as the curators were at pains to point out, an exhibition that took shape as Occupy emerged in the US.

(The closest the exhibition came to this was through Andrea Fraser’s contribution, a polemical catalogue essay calling out. The Biennial features works by approximately 50 artists working in a variety of media, including painting, sculpture, photography, film, video, dance, and performance.

Whitney Biennial 2012

Mar 22,  · Writing an essay for the Whitney Biennial rather than contributing an art work was a way of participating and not participating at the same time, while attempting to engage the exhibition as an.

Whitney patrons whom I know personally would appear on the radar of social justice activists (being only millionaires and not billionaires), although there.

Interview With Andrea Fraser About The Whitney Biennial (PHOTOS)

Fraser has received grants from Art Matters, Inc. (,), the Franklin Furnace Fund for Performance Art (), the New York Foundation for the Arts (), the National Endowment for the Arts (), Anonymous Was a Woman () and Foundation for Contemporary Arts ().

Whitney Biennial by Elisabeth Sussman Since its introduction inthe Whitney Biennial—the Museum's signature exhibition and a highly anticipated event in the art world—has charted new developments in contemporary art.

Andrea fraser whitney biennial 2012 essay
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